History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Louvre: Portrait of a Museum (Abradale Books)

Average customer rating:

Wonderful to remember your visit to the Louvre!
Quite Comprehensive
Exquisite!
beautiful!!!!!

Louvre: Portrait of a Museum (Abradale Books)
Nicholas D'Archimbaud
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover

General | Museums & Collections | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books
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ASIN: 0810982153

Amazon.com

This sumptuous, 335-page book, which is illustrated with 650 original photographs by the author as well as hundreds of works of art in the Louvre's vast holdings (plus archival plans and documents), is the next best thing to being in Paris, at the great museum itself. This history of 600 years of royal patronage, architectural adjustment, and voracious collecting of sculptures, treasures, paintings, and antiquities is for the cultured traveler, the intelligent tourist, and the art-loving amateur. The picture captions are warmly written and discursive, often with only minimal details about size and materials, and the text is much too user-friendly for art historians. But there is a great deal of information here, which could be absorbed only through long hours of perusal. The book is divided into three main sections: Eight Centuries of History; Architecture; and The Louvre's Seven Departments, including painting, Greek, Roman, Etruscan, and Egyptian antiquities, sculpture, and the decorative arts. The building itself is treated to a long discussion of the kings, queens, and presidents who have tried and failed to have the last word on its appearance and use. Torn down, rebuilt, redesigned, and, finally, wrenched into the late 20th century by I.M. Pei's controversial glass pyramid, the Louvre is an evolving work of art. (This book looks like the sort a parent leaves open on a coffee table, attempting to edify the children, but note the two or three full-page reproductions of artworks depicting tumescent male organs.) --Peggy Moorman

Customer Reviews:

Wonderful to remember your visit to the Louvre!.......2006-02-05

I bought this book for my son before I visited the Louvre because he was majoring in art. A few years later, I went to Paris and visited the Louvre. It was great to look through the book after having been there! It's still his book, but it was so wonderful to have it around after experiencing the incredible galleries in person! If you're going to the Louvre, my suggestion would be to really go through this book FIRST... then go to the Louvre! There's so much there it's overwhelming. I wish I'd planned out my visit there after going through the book.

Quite Comprehensive.......2004-07-13

This is a great book. It covers all the art departments of the Louvre and does it in a very concise manner. But it has a peculiar presentation format - too many sidebars and info boxes etc mixed-up with the main text, small pics breaking-up the main text too often, and many times it is not easy to match the sidebar to the pic intuitively.

Exquisite!.......1999-11-22

A true masterpiece. A fresh look at one of the world's most extraordinary museums. I received this book as a gift, and I have truly enjoyed it.

beautiful!!!!!.......1999-10-10

Whether you've been to the Louvre and want to protect and enhance your memories or you just want to see the most beautiful works of art ever collected this is the perfect book! It gives you history, background info and of course amazing pictures! You're next purchase will be plane tickets to Paris!!

Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere

Average customer rating:

Artists On Art
Superb reading....a real joy
Quote from Robert Hughes of Time Magazine

Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere
Michael Kimmelman
Manufacturer: Random House
ProductGroup: Book
Binding: Hardcover

General | History & Criticism | Arts & Photography | Subjects | Books

Criticism | History & Criticism | Arts & Photography | Subjects | Books

General | Reference | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

Contemporary Art | Schools, Periods & Styles | Arts & Photography | Subjects | Books
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ASIN: 0679452192
Release Date: 1998-08-11

Amazon.com

"One can only speak properly about paintings in front of paintings," Paul Cézanne once said. It is usually, though, critics who speak in front of paintings, not artists. With an eye toward rectifying that situation, Michael Kimmelman, chief art critic of the New York Times, constructed Portraits. He invited individual artists to meet him at museums, then tagged along on their peregrinations through various galleries--sometimes the most unlikely ones. At New York's Metropolitan Museum, the late Roy Lichtenstein, papa of pop, stopped to praise some frou-frou Fragonards. Who knew? "Clearly there's something wrong with me," Lichtenstein said.

Kimmelman's knowledge of art is astonishingly broad, and he has a way with questions that ignite each artist's memories, reflections, and opinions. Otherwise, he inserts himself only to offer enough biographical data or physical description to bring a reader up-to-date and up close. For the most part, he simply listens. Closely. The result is a series of interviews so cozy readers may feel they're eavesdropping. Few readers will ever make another foray through the Metropolitan or the Museum of Modern Art or London's National Gallery completely alone. After devouring these "portraits"--most of which appeared originally as articles in the Times's art pages--they will be accompanied forevermore by the lively, eccentric, thoughtful, unguarded voices of Jacob Lawrence, Kiki Smith, Wayne Thibaud, Francis Bacon, Lucian Freud, Elizabeth Murray, Cindy Sherman, Richard Serra, Leon Golub and Nancy Spero, Brice Marden, Hans Haacke, and Chuck Close. --Peggy Moorman

Customer Reviews:

Artists On Art.......2000-06-06

What could be better than going through art museums with artists and listening to their comments about the art on display and the artists who created that art? Michael Kimmelman, a distinguished art critic, had the great good fortune to do just that, and he wisely put himself in the background and let some very articulate people express themselves concerning things that they have thought about their whole lives. These are people who are passionate about art and who know all about making art. Some of the comments are educational and some are funny and, depending on the artists you like or dislike, some you might find irritating. For example, here is Chuck Close at the Metropolitan Museum of Art in NYC: "About some of the other artists he passes along the way he is dismissive. Renoir is "Italian restaurant painting and unless you're having pizza you wouldn't want to look at it." He doesn't care much for Titian or Tintoretto either." But before you dismiss this as a comment by somebody saying something to be outrageous, you should know that at the age of 48 Mr. Close had a spinal artery collapse, which left him what is called an incomplete quadriplegic. He had to relearn to paint, with brushes strapped to his hands. (An irony, not mentioned by Mr. Kimmelman, is that in his later years, due to very bad arthritis, Renoir also had to have brushes strapped to his hands!) Listen to Mr. Close again, talking about a trip to The Met after his disability had struck him down: "So I went to look at the Petrus Christuses and Holbeins and realized that everything I loved in the history of painting, and portrait painting in particular, is small and tight and the product of fine motor control, which I had lost. I was depressed for days, but then I ended up with a cathartic experience because I found myself in my studio feeling so happy just to be working again that I was literally whistling while I painted and at the same time tears were streaming down my cheeks." My heart sank when I read that paragraph! Another artist expresses his opinion that the greatest artist of the 20th century was not Picasso and not Matisse, but rather Pierre Bonnard. A very large statement to make! What I found especially interesting was that 3 or 4 of the artists, with different styles, all agreed on the greatness of Ingres and all were angered by the commonly held opinion that although he was a master of line, Ingres was not a very good colorist. These artists felt that Ingres was not only a good colorist but that he was a great colorist! Even better, they tell you why they feel he was a great colorist. This is a wonderful book and I wish I could have been a mouse in the corner when Mr. Kimmelman was walking and talking with these artists!

Superb reading....a real joy.......1998-10-24

Tuck this book into your weekend bag and stow away to some cozy spot, then dive in and enjoy. This one's a huge treat. As the editor of a new art series from Abrams and as someone who does not know Mr. Kimmelman personally, other than as an anonymous admirer of his work, I rejoiced when I read this book, because it teaches, it refreshes, it challenges, and, more than all else, it inspires. Bravo!

Quote from Robert Hughes of Time Magazine.......1998-05-20

"Michael Kimmelman is the most acute American art critic of his generation, and Portraits, his first book, is a fine debut. Patiently, inquisitively and with remarkable insight, he coaxes from artists a whole range of responses to art that take us, in their own words, to the heart of their own work. A valuable book and a great read."--Robert Hughes

Pharaohs: Treasures of Egyptian Art from the Louvre

Average customer rating:

A beautiful testimony to the glories of Pharaoh.

Pharaohs: Treasures of Egyptian Art from the Louvre
Lawrence Michael Berman , and Bernadette Letellier
Manufacturer: Cleveland Museum of Art
ProductGroup: Book
Binding: Hardcover

Ancient & Classical | Schools, Periods & Styles | Arts & Photography | Subjects | Books

General | Sculpture | Arts & Photography | Subjects | Books
ASIN: 094071731X

Book Description

The Egyptian galleries at the Louvre are perhaps the best-known in the world, containing some of the most precious works of art ever found among the ruins of the ancient kingdoms that once rose along the Nile. This year, with the renovation of the Egyptian wing of the Louvre, Americans will
have the rare opportunity to view thirty of these treasures firsthand: works that have never traveled since their initial acquisition by the Louvre are being gathered for an unprecedented exhibition that opens at the Cleveland Museum of Art. This beautifully illustrated catalogue offers a complete
record of the exhibition, and provides a veritable feast for all Egyptologists and other avid fans of Ancient Egypt. Pharaohs of Egypt features all thirty of these masterpieces of Egyptian art, and includes images of rulers from all the major periods of Egyptian history, as seen in the statues,
reliefs, and stelae (largely done in stone) of the original collection.
Ranging from tiny (five-inch) statuettes to over-lifesize statues, all thirty pieces are presented here and fully described for the reader's enjoyment. Take, for example, the "Head of Djedefra" from the Old Kingdom, Dynasty 4, ca. 2526-2518 BCE. The accompanying text not only gives the
provenance of the statue but also offers the means used to identify the ruler (a comparison of two other heads of Djedefra in the Egyptian Museum, Cairo), cites the differences from other statues of the period, gives the symbolism of certain details (the red stone was used specifically to illustrate
that this ruler considered himself a "son of Ra," the sun god), and a brief history of the pharaoh and his reign.
Lawrence M. Berman, who organized the exhibition in Cleveland, offers an essay on the "Image of the King in Ancient Egypt" which gives additional historical background and helps place the exhibit in the appropriate context. Bernadette Letellier, the curator of Eqyptian antiquities at the Louvre,
has contributed a concise and fascinating history of the Louvre's collection, the only English description of the galleries currently available. To help further orient the reader, there is a Chronology, a Key to Abbreviations, a map, and additional documentation.
Pharaohs of Egypt is a lavish collection of treasures for art lovers and antiquities students alike. The wealth of archaeological information combined with the sheer beauty of the pieces themselves result in a lush and richly detailed presentation that is not only an essential companion for
anyone planning to attend the exhibit, but an invaluable addition to the library of every lover of art, archaeology, and Egyptology.

Customer Reviews:

A beautiful testimony to the glories of Pharaoh........1999-08-10

"Pharaohs" is one of the best books on Egyptian art I have ever read, second only to "The Royal Women of Amarna." The plates are spectacular, illustrating wonderfully the evolution of Pharaonic imagery from the god-king of the old Kingdom to Egypt's eventual and impartial Roman conquerors. A personal favorite is the statuette of Akhenaten, which graces the book's cover. The commentary is insightful and captivating; the included brief history of the Louvre reflects to a marked degree the evolution of western interests, behavior, and treatment of ancient Egypt, which deserves--but not always receives--the very best.

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